It seems somewhat appropriate that the day after I saw '71 that they announced the passing of Ian Paisley. Paisley was one of the most powerful and extreme voices in Ulster during the Troubles and he represented a particularly virulent form of intransigence.
Although the politics of the time are ever-present, it's not a political film per se. A young British soldier on his first sortie into the republican neighbourhoods of Belfast is separated from his unit. He needs to get back to his base In territory he barely understands, relying on people whose motives he doesn't know.
The motives of the various characters are key. Despite the sectarian issues of the conflict, it is anything but a black-and-white world. An impressive feature film debut from a director, Yann Damange with an extensive background in British television.
2014/09/13
Gentlemen
I've been pretty fortunate over the past few days with my lead-off films (even the impenetrable "Goodbye to Language 3D" had some lovely moments). This morning's screening proved to be one of the best of the kick-off flicks.
Set mostly in Stockholm in the 60's and 70's, "Gentlemen" is a long, detailed thriller about the skeletons that never come to rest. A writer discovers that one of his commissions leads to much darker corners than he had anticipated, leading him to two brothers and connections both known and obscured.
Intricately plotted and featuring some excellent music (it's another movie with some terrific jazz performances), it establishes its conspiratorial atmosphere very early and doesn't let go. Recommended.
Set mostly in Stockholm in the 60's and 70's, "Gentlemen" is a long, detailed thriller about the skeletons that never come to rest. A writer discovers that one of his commissions leads to much darker corners than he had anticipated, leading him to two brothers and connections both known and obscured.
Intricately plotted and featuring some excellent music (it's another movie with some terrific jazz performances), it establishes its conspiratorial atmosphere very early and doesn't let go. Recommended.
Goodbye to Language 3D
Jean-Luc Godard's latest film continues his experiments with cinema, only this time using 3D equipment. It features many of the techniques he's used in more conventional films over the past few years -- the use of repeated intertitles, a soundtrack using dialogue in multiple languages, only part of which is translated to English, violent transitions in sound and visuals, etc.
To this he's added both "conventional" uses of 3D, mostly in the area of providing an immersive experience but also attempting some approaches that stretch the possibilities of 3D, not always successfully. For example, in a couple of instances he overlays two discrete images, both in 3D. The effect for me was instantly painful as I unconsciously tried to resolve them into something meaningful.
Although there are some images that are quite beautiful, for me it never moved from the level of an interesting art installation rather than a coherent film.
To this he's added both "conventional" uses of 3D, mostly in the area of providing an immersive experience but also attempting some approaches that stretch the possibilities of 3D, not always successfully. For example, in a couple of instances he overlays two discrete images, both in 3D. The effect for me was instantly painful as I unconsciously tried to resolve them into something meaningful.
Although there are some images that are quite beautiful, for me it never moved from the level of an interesting art installation rather than a coherent film.
From inside the Bubble
TIFF has always been a rather hermetic experience. Locked in the cycle of films, queues, washrooms and more films, the events in the real world lose some of their potency and become back story to what's happening on screen.
In the past this has included events of the death of Diana and, of course, 9/11 with respect to the latter, I remember vividly the experience of leaving a film ("Joy Ride") at the Cumberland and walking over to the Varsity and seeing the images from New York on the screens outside the theatre, not immediately understanding that what seemed like a movie was horribly real.
The equivalent in Toronto in 2014 is the comic-tragic soap opera of the Ford Brothers playing out this week. The difference, though, is that the previous events were singular -- the impact occurred once and diminished over time; their "story" (and given the Fords' own history over the past few years must be seen as a story, a fiction, that will likely change over the next few days) just keeps changing. To use filmic references, it's less the Statue of Liberty at the end of Planet of Apes, more the horror film where the villain repeatedly comes back from the dead.
The city definitely needs to change the reel on this show. While it seems likely that Rob could triumph in his old ward, there is a choice to be made about the kind of leader and city we want and, in my own opinion, brother Doug provides neither.
The one hopeful sign I've seen this summer, both here at TIFF and my travels to the West Coast during the summer, is that Ford is yesterday's news. I've only heard two conversations about him this week, where a year or two ago, I would frequently get questions from friends and colleagues in other places. The story has shrunk to a local issue. With luck, we can begin to close the book on it at the end of next month.
In the past this has included events of the death of Diana and, of course, 9/11 with respect to the latter, I remember vividly the experience of leaving a film ("Joy Ride") at the Cumberland and walking over to the Varsity and seeing the images from New York on the screens outside the theatre, not immediately understanding that what seemed like a movie was horribly real.
The equivalent in Toronto in 2014 is the comic-tragic soap opera of the Ford Brothers playing out this week. The difference, though, is that the previous events were singular -- the impact occurred once and diminished over time; their "story" (and given the Fords' own history over the past few years must be seen as a story, a fiction, that will likely change over the next few days) just keeps changing. To use filmic references, it's less the Statue of Liberty at the end of Planet of Apes, more the horror film where the villain repeatedly comes back from the dead.
The city definitely needs to change the reel on this show. While it seems likely that Rob could triumph in his old ward, there is a choice to be made about the kind of leader and city we want and, in my own opinion, brother Doug provides neither.
The one hopeful sign I've seen this summer, both here at TIFF and my travels to the West Coast during the summer, is that Ford is yesterday's news. I've only heard two conversations about him this week, where a year or two ago, I would frequently get questions from friends and colleagues in other places. The story has shrunk to a local issue. With luck, we can begin to close the book on it at the end of next month.
2014/09/12
Human Highway (Director's Cut)
For the second day in a roar, I started my day yesterday with a WTF film at the Bloor. Yesterday was "Electric Boogaloo"; this morning was "Human Highway", directed by Bernard Shakey (aka Neil Young) and Dean Stockwell and featuring a cast that included Young, Stockwell, Dennis Hopper and Sally Kirkland.
The film was originally released in 1982 and the version shown Thursday morning has been restored and recut. It's an entertaining mess, set mostly at a gas station / diner in the desert, with a nuclear power station glowing menacingly in the background. There is a lot of music, mostly "Trans" era Young but Includes Devo as a group of nuclear plant garbagemen. There is a narrative for the first 2/3 of the film, at which point it sort of disintegrates into a series of music videos loosely connected to the story. A highlight is a version of "Hey Hey My My (Into the Black)" featuring both Devo and Young, with vocals by Booji Boy. From what I read after the film, this version inspired Crazy Horse to do their more iconic take on the song.
Weird and occasionally wonderful.
The film was originally released in 1982 and the version shown Thursday morning has been restored and recut. It's an entertaining mess, set mostly at a gas station / diner in the desert, with a nuclear power station glowing menacingly in the background. There is a lot of music, mostly "Trans" era Young but Includes Devo as a group of nuclear plant garbagemen. There is a narrative for the first 2/3 of the film, at which point it sort of disintegrates into a series of music videos loosely connected to the story. A highlight is a version of "Hey Hey My My (Into the Black)" featuring both Devo and Young, with vocals by Booji Boy. From what I read after the film, this version inspired Crazy Horse to do their more iconic take on the song.
Weird and occasionally wonderful.
2014/09/11
Tour de Force
A group of friends embark on their annual cycling trip and discover that the destination isn't what they were expecting.
Hannes picks Ostend in Belgium as the goal for the trip. While on the way, he reveals that he has tested positive for ALS and intends to end his life there, as Belgium is one of the European countries that supports assisted suicide. While the group has to confront the reality of letting go, it's also about celebrating friendships.
As I had mentioned in an earlier post, there are a number of films this year that deal with characters faced with the decision of when (and how) to end one's life. "Tour de Force", aided by its very good ensemble cast, treats the subject with sensitivity. There is laughter (and a lot of tears) that never descends into mawkishness. Of the films I've seen so far this year, it's the one that has provided the greatest emotional impact.
The screening I attended included an extended Q&A with the director and Robert Austin from the Munk School at UofT, which used the film to enter into a larger discussion on assisted suicide or "therapeutic homicide", as it has been termed in Canada). It was part of a program that TIFF introduced a few years ago and is one of the added benefits of going to the festival.
With the growing debate about assisted suicide in Canada and elsewhere, the film is a thought-provoking voice in that discussion.
Hannes picks Ostend in Belgium as the goal for the trip. While on the way, he reveals that he has tested positive for ALS and intends to end his life there, as Belgium is one of the European countries that supports assisted suicide. While the group has to confront the reality of letting go, it's also about celebrating friendships.
As I had mentioned in an earlier post, there are a number of films this year that deal with characters faced with the decision of when (and how) to end one's life. "Tour de Force", aided by its very good ensemble cast, treats the subject with sensitivity. There is laughter (and a lot of tears) that never descends into mawkishness. Of the films I've seen so far this year, it's the one that has provided the greatest emotional impact.
The screening I attended included an extended Q&A with the director and Robert Austin from the Munk School at UofT, which used the film to enter into a larger discussion on assisted suicide or "therapeutic homicide", as it has been termed in Canada). It was part of a program that TIFF introduced a few years ago and is one of the added benefits of going to the festival.
With the growing debate about assisted suicide in Canada and elsewhere, the film is a thought-provoking voice in that discussion.
2014/09/10
Whiplash
This was an incredibly assured debut from a first-time feature film director named Damien Chazelle. A young jazz drummer (played by Miles Teller) comes under the tutelage of a harsh, sadistic master of a music teacher (JK Simmons).
It's a somewhat cliched premise (one could substitute "music teacher" with "football coach" or "drill sergeant" with minimal effort. The young man must find his way either due to or in spite of the teacher without losing his soul.
What the film does well, it does very well. The music is an integral part of the film and it drives the narrative. Simmons shows both his monstrous side as well as a more human quality. Although he is not the heart of the film, you can't take your eyes off him.
I had a couple of problems with the film. I don't think Teller was strong enough to create the right tension in the film (he was good, but in the words of Simmons' character, the "tempo wasn't quite right". The narrative also relies on a twist in the last few minutes. To believe the ending, you have to believe the action made at that point. I didn't. The plot carried through in a reasonable way, but doubts lingered about that twist.
Still, the film suggests a bright future ahead for Mr. Chazelle. Recommended.
It's a somewhat cliched premise (one could substitute "music teacher" with "football coach" or "drill sergeant" with minimal effort. The young man must find his way either due to or in spite of the teacher without losing his soul.
What the film does well, it does very well. The music is an integral part of the film and it drives the narrative. Simmons shows both his monstrous side as well as a more human quality. Although he is not the heart of the film, you can't take your eyes off him.
I had a couple of problems with the film. I don't think Teller was strong enough to create the right tension in the film (he was good, but in the words of Simmons' character, the "tempo wasn't quite right". The narrative also relies on a twist in the last few minutes. To believe the ending, you have to believe the action made at that point. I didn't. The plot carried through in a reasonable way, but doubts lingered about that twist.
Still, the film suggests a bright future ahead for Mr. Chazelle. Recommended.
Electric Boogaloo
Mark Hartley is an Australian film maker who specializes in rapid-fire oral histories of niche cinema. "Electric Boogaloo" is the third film he has brought to TIFF and focuses on the rise and fall of Cannon Films in the 70's and 80's.
As with his previous films, this is a dizzying array of short comments from a plethora of people involved with the subject, representing all facets of the film business. Numerous clips from the films are used to illustrate points and to punctuate all the talking heads. They tend to be the documentary equivalent of a sugary cereal. Lots of energy and containing some interesting nuggets of information, but you wouldn't want to base a entire festival experience on them. That said, it was the first film of the day and was a great way to charge up the brain cells.
As with his previous films, this is a dizzying array of short comments from a plethora of people involved with the subject, representing all facets of the film business. Numerous clips from the films are used to illustrate points and to punctuate all the talking heads. They tend to be the documentary equivalent of a sugary cereal. Lots of energy and containing some interesting nuggets of information, but you wouldn't want to base a entire festival experience on them. That said, it was the first film of the day and was a great way to charge up the brain cells.
2014/09/09
A Hard Rain's Gonna Fall
Started this morning's marathon with Sturla Gunnarsson's "Monsoon", a compelling documentary which looks at the weather phenomenon from the perspective of people who live through and are affected by it each year (or not. One of the key points the film makes is that the monsoons will not hit the country equally and there are areas which are suffering significant drought conditions due to the lack of precipitation).
For me, the film hit the sweet spot between the science of the meteorology behind the storms and the economic and cultural impacts of the monsoon. The monsoon has a significant economic impact on the country and forecasts of impending storms seem to be constrained by the risk of providing an incorrect prognosis which could negatively impact the stock market.
It's a film that demands to be seen on a big screen (according to the director, it will have a commercial release in the November time frame). Shot in 4K digital and featuring a soundtrack of both traditional and contemporary Indian music, it makes for a great sensory experience.
For me, the film hit the sweet spot between the science of the meteorology behind the storms and the economic and cultural impacts of the monsoon. The monsoon has a significant economic impact on the country and forecasts of impending storms seem to be constrained by the risk of providing an incorrect prognosis which could negatively impact the stock market.
It's a film that demands to be seen on a big screen (according to the director, it will have a commercial release in the November time frame). Shot in 4K digital and featuring a soundtrack of both traditional and contemporary Indian music, it makes for a great sensory experience.
2014/09/08
Charting the extremes
We're barely past the first weekend of TIFF and I think I may have seen contenders for both the worst and best films of this year's schedule.
The former is well (poorly?) represented by a little South African film called "Impunity". A young couple embarks on a killing spree while being pursued by a pair of cops, against the backdrop of political and criminal turmoil in the country.
It seems that the director wanted to make a statement about larger societal issues in South Africa, but the linkages just aren't well established. The film plays like a young adult version of "Natural Born Killers" and the two cops commit tactical errors in the film that are beyond believe. A mess that began with the script.
On the plus side, however, was "Luna", designed and directed by Dave McKean ("designed" is a key characteristic of this film, as it incorporates live action, set design, illustration, animation and a host of other techniques). McKean is an illustrator who has worked with a who's who of the comics and graphic novel world, including his work on Neil Gaiman's Sandman series and the novel "Coraline".
It's a film about grief and finding a way to let go. Two couples in a remote seaside cottage confront their feelings about a shared tragedy. It's visually (and aurally) stunning. The actors do a great job of creating characters that aren't overwhelmed by the technology around them. Highly recommended.
The former is well (poorly?) represented by a little South African film called "Impunity". A young couple embarks on a killing spree while being pursued by a pair of cops, against the backdrop of political and criminal turmoil in the country.
It seems that the director wanted to make a statement about larger societal issues in South Africa, but the linkages just aren't well established. The film plays like a young adult version of "Natural Born Killers" and the two cops commit tactical errors in the film that are beyond believe. A mess that began with the script.
On the plus side, however, was "Luna", designed and directed by Dave McKean ("designed" is a key characteristic of this film, as it incorporates live action, set design, illustration, animation and a host of other techniques). McKean is an illustrator who has worked with a who's who of the comics and graphic novel world, including his work on Neil Gaiman's Sandman series and the novel "Coraline".
It's a film about grief and finding a way to let go. Two couples in a remote seaside cottage confront their feelings about a shared tragedy. It's visually (and aurally) stunning. The actors do a great job of creating characters that aren't overwhelmed by the technology around them. Highly recommended.
The Equalizer
Antoine Fuqua's movie adaptation of Edward Woodward's TV series uses the main character (played here by Denzil Washington) and the basic premise of a man with a past who helps those in need. Beyond that it's a well-crafted thriller that is more James Bond than Robert McCall.
The story begins with a prostitute enslaved to Russian mobsters but escalates quickly and inexorably after that. That's actually the principal problem with the film -- the only constraint shown is in Washington's character. It reaches its nadir in a scene towards the end when an action initiated by McCall would have resulted in the deaths of probably hundreds of innocent lives. It was at that point that the film crossed the line for me.
The advertising for this film is overwhelming downtown. It seems that you can't turn a corner without being confronted by one of three different posters. Clearly the studio is putting a lot of support behind it, likely hoping that it will make up for the lacklustre box office receipts during the summer. It's a shame, as there are much better films being shown this week that deserve some of that attention.
The story begins with a prostitute enslaved to Russian mobsters but escalates quickly and inexorably after that. That's actually the principal problem with the film -- the only constraint shown is in Washington's character. It reaches its nadir in a scene towards the end when an action initiated by McCall would have resulted in the deaths of probably hundreds of innocent lives. It was at that point that the film crossed the line for me.
The advertising for this film is overwhelming downtown. It seems that you can't turn a corner without being confronted by one of three different posters. Clearly the studio is putting a lot of support behind it, likely hoping that it will make up for the lacklustre box office receipts during the summer. It's a shame, as there are much better films being shown this week that deserve some of that attention.
2014/09/07
Itsi Bitsi
"Itsi Bitsi" was the biggest hit of a 60's Danish psychedelic rock group called the Steppenwolves" who recorded a single, now legendary LP called "Hip" in the mid-60's. It's story before the single (and, for a short time afterwards) that's the focus of the film, a love story between Eik (the lead singer of the group) and Iben.
It's a story told during the height of the free love, anti-nuke, pro drugs culture is in full flower, but the film is so well grounded (and told with such obvious affectation by the director and co-writer) that it works extremely well. The leads are excellent and their relationship is beautifully drawn in both good and bad times.
It's a story told during the height of the free love, anti-nuke, pro drugs culture is in full flower, but the film is so well grounded (and told with such obvious affectation by the director and co-writer) that it works extremely well. The leads are excellent and their relationship is beautifully drawn in both good and bad times.
Ned Rifle
It was a little surprising to listen to the intro to "Ned Rifle" this evening and be told that the director, Hal Hartley, had been appearing at TIFF since his first film, "The Unbelievable Truth", twenty-five years ago. I was at a 9 am screening of that film that year and have been following his career ever since.
His latest is the third film in a trilogy that began with "Henry Fool" (1997) and continued in 2007 with "Fay Grim". Characters introduced in the earlier films return and several actors from his previous works take on new parts. The son born of Fool and Grim is an adult now and is on a mission to kill his father, who he blames for his mother's incarceration. It's a comedy.
Hartley's style has remained a constant over that time. Character-driven, wordy films with a consistent deadpan humour (if Buster Keaton used words the way his face resisted expression, he'd be in a Hartley film). Even the music (also written and performed by Hartley) and the cinematography (a flat pale light suffuses every frame, interior or exterior, no matter where the action is taking place) are constants.
So why keep coming back?
The humour. A wry take on the world that continues to raise a small smile, if not a chuckle. There is, I admit, a feeling similar to putting on an old comfortable pair of shoes. It's also interesting to watch an artist work similar themes in new, if not innovative ways.
For those who know his work, the film is an automatic recommendation. It's hard to say how his film would play to the uninitiated. It would be interesting to hear the reaction of someone new to his work.
His latest is the third film in a trilogy that began with "Henry Fool" (1997) and continued in 2007 with "Fay Grim". Characters introduced in the earlier films return and several actors from his previous works take on new parts. The son born of Fool and Grim is an adult now and is on a mission to kill his father, who he blames for his mother's incarceration. It's a comedy.
Hartley's style has remained a constant over that time. Character-driven, wordy films with a consistent deadpan humour (if Buster Keaton used words the way his face resisted expression, he'd be in a Hartley film). Even the music (also written and performed by Hartley) and the cinematography (a flat pale light suffuses every frame, interior or exterior, no matter where the action is taking place) are constants.
So why keep coming back?
The humour. A wry take on the world that continues to raise a small smile, if not a chuckle. There is, I admit, a feeling similar to putting on an old comfortable pair of shoes. It's also interesting to watch an artist work similar themes in new, if not innovative ways.
For those who know his work, the film is an automatic recommendation. It's hard to say how his film would play to the uninitiated. It would be interesting to hear the reaction of someone new to his work.
2014/09/06
Clouds of Sils Maria
Olivier Assayas' latest film is a story of a middle-aged actress (Juliette Binoche) who established her long career early on in a play in the part of a tragic teen who has an affair with a older, bourgeois woman. The death of the playwright and an offer from a young director to remount the play (this time as the older woman, with a Lindsay Lohan surrogate as the teen) force her to confront her own mortality and the effects of time.
Mostly set in the mountains of Switzerland (a character in its own right), it's mostly a two-handler between Binoche's character and her personal assistant, played by Kristine Stewart. Assayas does a good job of handling a number of narrative and thematic resonances that occur in the film and Stewart and Binoche have very good chemistry together. The "Lohan" character (played by Chloe Moretz) unfortunately comes across as a bit weak, when she needs to be more of a force of nature.
Assayas has done better work in the past, but "Clouds" has much to recommend.
Mostly set in the mountains of Switzerland (a character in its own right), it's mostly a two-handler between Binoche's character and her personal assistant, played by Kristine Stewart. Assayas does a good job of handling a number of narrative and thematic resonances that occur in the film and Stewart and Binoche have very good chemistry together. The "Lohan" character (played by Chloe Moretz) unfortunately comes across as a bit weak, when she needs to be more of a force of nature.
Assayas has done better work in the past, but "Clouds" has much to recommend.
A word about theatres
TIFF uses a number of theatres in the core of downtown, mostly around King Street West but stretching as far north as the Bloor and as far east as The Ryerson Theatre on Gerrard.
Aside from hoping that the technical aspects of the theatres are up to snuff, there's also the general appearance of the spaces. For better or for worse, the theatres represent the city to visitors (and there are a lot of people who come here for TIFF. More often than not, I hear people who are "from away").
That said, the old Scotiabank Theatre at John and Richmond is an eyesore that desperately needs some attention. I will spend a lot of time there this year and it's a mess -- from the lobby areas to the entrances and exits and especially the washrooms.
With the closing of the Chapters below the theatre, the corner is looking very neglected. I noticed earlier this week that the large cube which sits at the top of the escalator and which used to show trailers and such appears to be non-functional.
Renovating the space would be the responsibility of Cineplex, of course. While it wouldn't have to be a major refit (the days of Garth Drabinsky's view of the movie house may have passed), improvements would help both the moviegoer and the neighbourhood in general.
Aside from hoping that the technical aspects of the theatres are up to snuff, there's also the general appearance of the spaces. For better or for worse, the theatres represent the city to visitors (and there are a lot of people who come here for TIFF. More often than not, I hear people who are "from away").
That said, the old Scotiabank Theatre at John and Richmond is an eyesore that desperately needs some attention. I will spend a lot of time there this year and it's a mess -- from the lobby areas to the entrances and exits and especially the washrooms.
With the closing of the Chapters below the theatre, the corner is looking very neglected. I noticed earlier this week that the large cube which sits at the top of the escalator and which used to show trailers and such appears to be non-functional.
Renovating the space would be the responsibility of Cineplex, of course. While it wouldn't have to be a major refit (the days of Garth Drabinsky's view of the movie house may have passed), improvements would help both the moviegoer and the neighbourhood in general.
Life in a Fishbowl
This year's offering from Iceland was different from previous films in that it was almost entirely set in Reykjavik (it's been more typical for Icelandic films to get out into the countryside -- why not when the geography is so stunning?).
"Fishbowl" follow three characters during the lead up to the financial meltdown of 2008 (the economic situation is both foreground and background in the narrative. There is a young single mother who works at a daycare and moonlights as a prostitute; an alcoholic writer and an ex-football player who joins a financial firm at the centre of the banking scandal. Their stories begin to connect in various ways over the course of the film and the use of a slightly fragmented timeline is very effective.
"Fishbowl" follow three characters during the lead up to the financial meltdown of 2008 (the economic situation is both foreground and background in the narrative. There is a young single mother who works at a daycare and moonlights as a prostitute; an alcoholic writer and an ex-football player who joins a financial firm at the centre of the banking scandal. Their stories begin to connect in various ways over the course of the film and the use of a slightly fragmented timeline is very effective.
2014/09/05
The Dead Lands
A real mixed bag today, but the one that left the strongest, most visceral impression was "The Dead Lands" from New Zealand, a period piece about a young, inexperienced Maori warrior who swears vengeance on the men that massacred his tribe.
Reminiscent of Japanese samurai movies, it's a film about honour and warrior codes. The numerous action sequences were very well choreographed and shot. Although the story was not terribly original, the locations, the language and other details made it a unique experience. Recommended.
Reminiscent of Japanese samurai movies, it's a film about honour and warrior codes. The numerous action sequences were very well choreographed and shot. Although the story was not terribly original, the locations, the language and other details made it a unique experience. Recommended.
And we're off
A bit of an uneven start last night to TIFF2014, with two films that were good but couldn't quite ascend higher than that.
The first film of this year was "The Valley". It's a Lebanese film, apparently the second film in a trilogy, although there was no sense that seeing the first film ("The Mountain") was absolutely necessary.
In a remote valley, a man emerges from a car crash. He has no recollection of who he is or how he got there. He helps a group of people to fix their car and they take him back to their compound. An airborne assault on the valley forces them to flee the compound.
The film is structured as a series of very tightly-controlled, mostly static scenes, many of which are quite beautiful in their austerity. The music, mostly Middle Eastern with a Joy Division cut included, complements this imagery perfectly. Occasionally, characters begin to dance to music in the room -- it's quite jarring to see this in the midst of the film, but it's done in such a natural, spontaneous fashion that it works really well.
At the end though, there is just a little too little information to hold the film together.
Number 2 was a drastic shift from Lebanon to Finland and from drama to a fairly broad comedy. "The Grump". An 80-year old man is forced by circumstance to leave his solitary life in the country to join his son's family in the city.
The comedy for the most part is very one-dimensional and told entirely from the perspective of the curmudgeon. Fortunately it was redeemed at the end by a lovely ending.
Lots of action downtown, a mix of TIFF and university Frosh Week events. The move out of Yorkville a few years ago has actually provided more options for connecting the festival to the real world, which is definitely a positive.
Steamy day today and there will be a couple of mad dashes between screenings. It's going to be sweaty.
The first film of this year was "The Valley". It's a Lebanese film, apparently the second film in a trilogy, although there was no sense that seeing the first film ("The Mountain") was absolutely necessary.
In a remote valley, a man emerges from a car crash. He has no recollection of who he is or how he got there. He helps a group of people to fix their car and they take him back to their compound. An airborne assault on the valley forces them to flee the compound.
The film is structured as a series of very tightly-controlled, mostly static scenes, many of which are quite beautiful in their austerity. The music, mostly Middle Eastern with a Joy Division cut included, complements this imagery perfectly. Occasionally, characters begin to dance to music in the room -- it's quite jarring to see this in the midst of the film, but it's done in such a natural, spontaneous fashion that it works really well.
At the end though, there is just a little too little information to hold the film together.
Number 2 was a drastic shift from Lebanon to Finland and from drama to a fairly broad comedy. "The Grump". An 80-year old man is forced by circumstance to leave his solitary life in the country to join his son's family in the city.
The comedy for the most part is very one-dimensional and told entirely from the perspective of the curmudgeon. Fortunately it was redeemed at the end by a lovely ending.
Lots of action downtown, a mix of TIFF and university Frosh Week events. The move out of Yorkville a few years ago has actually provided more options for connecting the festival to the real world, which is definitely a positive.
Steamy day today and there will be a couple of mad dashes between screenings. It's going to be sweaty.
2014/09/03
2014/09/02
Almost there (again)
It's just over two days from the launch of TIFF 2014. About three weeks ago, I went through the annual ritual of taking the catalogue and slicing and dicing a schedule out of the 300+ films on offer this year.
It's an interesting way to extract possible trends for the year. A few things I noticed:
It's an interesting way to extract possible trends for the year. A few things I noticed:
- There were several films about a man with a past who, while trying to follow a new path, is dragged back into the old ways (the "one last job" film).
- Quite a few films were co-directed. In fact, it seemed at first glance that there were a lot more of these films this year than previous years.
- Several films about taking control of the end of one's life. I think this is reflective of the current debate raging in the public sphere about quality of life and having the choice to decide when one's death will occur.
It's a curious year as far as the films go. At this point, it doesn't feel that there is a "big" film or films that will capture people's attention (last year featured "Gravity" and "12 Years a Slave, to name two). As usual, I've tried to mix things up in the final list, combining films from different countries and from as many of the individual programs as possible.
The fun starts on Thursday night in Lebanon ("The Valley") and ends in Finland ("The Grump").
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